"October arrived, spreading a damp chill over the grounds and into the castle. Madam Pomfrey, the nurse, was kept busy by a sudden spate of colds among the staff and students. Raindrops the size of bullets thundered on the castle windows for days on end; the lake rose, the flower beds turned into muddy streams, and Hagrid’s pumpkins swelled to the size of garden sheds."
J.K. Rowling, Harry Potter and the Chamber of Secrets

The Alice in Wonderland Cookbook and Lewis Carroll's Guide to Dining Etiquette

"Many of the houses that interior designers show me look more like hotels than homes. And that’s because there is often nothing personal about them: a designer created them and the owners haven’t managed to add those personal layers that real homes need:decorative things, vases, sculptures, children’s drawings, hats, bicycles…"the stuff of life" as I like to call it."

The Stuff of Life by Hilary Robertson

“The shuttle takes me to downtown Phoenix and every bar I go into there are guys with stitches around the rim of an eye socket where a good slam packed their face meat against its sharp edge. There are guys with sideways noses, and these guys at the bar see me with the puckered hole in my cheek and we’re an instant family.”

‘FIGHT CLUB’ RE-COVERED BOOKS CONTEST WINNER: JARED FANNING

(Editor’s note: The Re-Covered Books Contest is so brilliant. Kindle or iBooks should let you change covers.) (via YMFY)

Max: Can you do me a favour? Can you describe the day for me? What's it like outside?

Liesel: It's cloudy.

Max: No, no, no. Make the words yours. If your eyes could speak….what could they say?

Liesel: It's a pale day.

Max: "Pale." Good. Go on.

Liesel: Everything's stuck behind a cloud. And the sun….doesn't look like the sun.

Max: What does it look like?

Liesel: Like a silver oyster?

Max: Thank you. I saw that.

YMFY: What is Creativity?

René belongs to a very small group of unique creators. People who have turned their partiular niches completely upside-down. Reinvented and redefined them. The Unafraid. Whether it be Pablo Picasso, Jackson Pollock, Charlie Parker, Beethoven, the Beatles, Cecil B. DeMille, Francis Ford Coppola, Quentin Tarantino, Jack Kerouac, James Joyce, Hunter S. Thompson, Steve Jobs, Stephen Hawking, Marlon Brando, the list goes on depending who’s composing it…but no matter who’s on that list, or how long it is, René Redzepi BELONGS on that list.

René Redzepi: A Work in Progress. A deeply honest journal from the Michelin three star chef that became a book. Monocle has a great radio interview with him here about the highs and lows of being the best.

The Wes Anderson Collection is the first in-depth overview of Anderson’s filmography, guiding readers through his life and career. Previously unpublished photos, artwork, and ephemera complement a book-length conversation between Anderson and award-winning critic Matt Zoller Seitz. The interview and images are woven together in a meticulously designed book that captures the spirit of his films: melancholy and playful, wise and childish—and thoroughly original.

Klaus Haapaniemi's illustration 

and Süskind's dark tales

So, as you can see, I’ve gone with eyes here (not the first or last time I will use an eye as a device on a jacket-book covers are, after all, faces, both literally and figuratively, of the books they wrap). I find eyes, taken in the singular, create intimacy, and in the plural instill paranoia. This seemed a good combo for Kafka- who is so very adept at the portrayal of the individual, as well as the portrayal of the persecution of the individual.

I also opted for color. It needs saying that Kafka’s books are, among other things, funny, sentimental, and in their own way, yea-saying. I am so weary of the serious Kafka, the pessimist Kafka. Kafkaesque has become synonymous with the machinations of anonymous bureaucracy- but, of course, Kafka was a satirist (ironist, exaggerator) of the bureaucratic, and not an organ of it. Because of this mischaracterization, Kafka’s books have a tendency to be jacketed in either black, or in some combination of colors I associate with socialist realism, constructivism, or fascism- i.e. black, beige and red. Part of the purpose of this project for me, was to let some of the sunlight back in. In any case, hopefully these colors, though bright, are not without tension.

The typography. The script is an amalgam of Kafka’s own hand, and a wonderfully versatile typeface called “Mister K" (based on Kafka’s own hand) by Julia Sysmäläine who works at Edenspiekermann in Berlin.

Peter Mendelsund on his cover designs for Kafka

Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes — a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.
And as I sat there brooding on the old, unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.
Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter — to-morrow we will run faster, stretch out our arms farther. . . . And one fine morning ——
So we beat on, boats against the current, borne back ceaselessly into the past.
― F. Scott Fitzgerald, The Great Gatsby

Monocle’s first ever book, The Monocle Guide to Better Living, is an informative and entertaining collection of writing and recommendations from across the globe.

The product of a Kickstarter campaign, Clear and Present Thinking is a college level textbook in logic and critical reasoning, and made available to the world for free...

HOW TO THINK MORE (BUT NOT BETTER): ALAIN DE BOTTON’S SCHOOL OF LIFE

By: Lisa Levy
Los Angeles Review of Books, May 11, 2013

IS THE VERY IDEA of an intelligent self-help book a paradox? It is certainly trying to serve two demanding masters: philosophical speculation and practical action. After all, readers don’t pick up self-help books just to ruminate on life’s dilemmas, but to be guided to solutions. The new series of self-help books published by the London-based School of Life, co-founded by the Swiss-born popular philosopher Alain de Botton, echoes the school’s lofty approach to problems, claiming to be “intelligent, rigorous, well-written new guides to everyday living.” Yet to peruse the School of Life’s calendar of classes is to fall into a vortex of jargon pitched somewhere between the banal banter of daytime talk shows and the schedule for a nightmarish New Age retreat: “How to Have Better Conversations,” “How to Realise Your Potential,” “Developing a Compassionate Mind: One Day Intensive,” “Philosophy Slam,” “Learning How to Say No,” “Getting Better at Online Dating,” “Resilience: One Day Workshop.” Before long, I was ready to sign up for “How to Stay Calm.”

De Botton himself is a divisive, if not easily dismissed, public intellectual. The author of bestselling books about many of the broad topics the School of Life curriculum covers — love, work, religion, happiness, and philosophy itself — de Botton is often accused of being a purveyor of Philosophy Lite (see, for example, Victoria Beale’s January 3, 2013, attack on him in The New Republic, “How to Be a Pseudo-Intellectual”). His works are securely aimed at the insecure middlebrow reader, the kind of person who knows that Proust can change her life but maybe would rather read about how Proust can change her life than slog through seven life-changing volumes. Indeed, there is something ersatz, if not quite fraudulent, about de Botton’s entire intellectual enterprise: he often seems like a grad student who shows up to seminar having done just enough of the reading to participate by jumping on other people’s comments, but who never makes an original observation of his own. He is constantly quoting and alluding to great figures — Jane Austen, John Stuart Mill, Stendhal, and Freud, among others, all get name-dropped in his self-help book, How To Think More About Sex (about which more below) — but he tends to meander and summarize after a quotation rather than using it to drive his own argument forward.

De Botton has, however, up until recently, been a great champion of philosophy as a way to work through life’s conundrums. His The Consolations of Philosophy (2000) is a charming and, in its own way, useful book that dissects the lives and ideas of major philosophers like Socrates and Nietzsche and applies them to everyday problems like “unpopularity” and “difficulties.” De Botton claims in Consolations that it is possible to “take on a task at once both profound and laughable: to become wise through philosophy.” In this he has positioned himself in a long line of thinkers about the care and maintenance of the self, such that the editing and writing of “intelligent self-help books” would not seem like such a stretch.

Yet the real issue with de Botton’s new book, and the others in the How To series, is not simply a lack of depth but one of purpose: they are certainly shallow in their philosophy, but they are not particularly useful either. The books are combination platters of soft science, anecdotal case studies (some real, some fictional), and exercises or suggestions about steps the reader could take to further his or her goal. Along with de Botton’s volume purporting to inspire more (but not deeper, note) thought about sex, the School of Life series includes How to Stay Sane, by Philippa Perry; How to Change the World, by John-Paul Flintoff; and How to Find Fulfilling Work, by Roman Krznaric. Krznaric’s volume is by far the most successful, perhaps because he is the only one of the authors who does not seem embarrassed by either his topic or the means of treating it. Perry, a psychotherapist, and Flintoff, a journalist, retain a tone like they should be doing their work by more highfalutin means. And de Botton’s book makes an enraging little study (all the books clock in at around 200 pages) of contemporary assumptions about sex, marriage, and relationships, regarded strictly from the point of view of a bored, married, middle-aged man who maybe dabbles in philosophy and fancies himself an intellectual. It’s like being hit on by a paunchy, balding European guy at an office party who tries to seduce you with, well, quotes from Jane Austen and Stendhal, and empty proclamations about the place of sex, marriage, and relationships in contemporary society.

“We were so intimate once upon a time I can’t believe it now. The memory of being that intimate with somebody. We were so intimate I could puke. I can’t imagine ever being that intimate with somebody else. I haven’t been.” — Where I’m Calling From, by Raymond Carver

Heartbreaking...

Will be reading this book over the holidays. And here's Raymond Carver's OKCUPID profile, edited by Gordon Lish.

Angelika Taschen: Page Turner

ARTHUR SCHOPENHAUER ON READING AND BOOKS 

When we read, another person thinks for us: we merely repeat his mental process. It is the same as the pupil, in learning to write, following with his pen the lines that have been pencilled by the teacher. Accordingly, in reading, the work of thinking is, for the greater part, done for us. This is why we are consciously relieved when we turn to reading after being occupied with our own thoughts. But, in reading, our head is, however, really only the arena of some one else’s thoughts. And so it happens that the person who reads a great deal — that is to say, almost the whole day, and recreates himself by spending the intervals in thoughtless diversion, gradually loses the ability to think for himself; just as a man who is always riding at last forgets how to walk. Such, however, is the case with many men of learning: they have read themselves stupid. … And just as one spoils the stomach by overfeeding and thereby impairs the whole body, so can one overload and choke the mind by giving it too much nourishment. For the more one reads the fewer are the traces left of what one has read; the mind is like a tablet that has been written over and over. Hence it is impossible to reflect; and it is only by reflection that one can assimilate what one has read if one reads straight ahead without pondering over it later, what has been read does not take root, but is for the most part lost.

Design as Art by Bruno Munari - From the start, Munari questions whether there is a distinction between design and art. He sees art—not something exclusive to the halls of elite exhibitions, but something exploratory that involves the viewer as much as the artist. ”Design as Art” is a collection of Munari’s essays from the 40s and 50s. These short essays, each two or three pages long, are grouped together under five areas: Designers as Stylists, Visual Design, Graphic Design, Industrial Design and Research Design. Throughout the book Munari keeps going back to Japanese design, which he approves. The reason for this is that Japanese design is designing the object as the object itself, and not an imitation of something else. Another important element of Japanese design is its close connection to the materials used—an intelligent use of each material depending on its looks and properties. As a result, Japanese design embodies the object with both, its function, and the properties of the materials used. First published in 1966, the book is still refreshingly relevant today.

Looking forward to read this book 

Escape From Camp 14.